Harold aNCarT KrisTiN BaKEr MarK BarroW NiNa

Harold ANCART
Kristin BAKER
Mark BARROW
Nina BEIER
Anna BETBEZE
Mark FLOOD
Thilo HEINZMANN
John HENDERSON
Scott LYALL
Jayson MUSSON
Renaud REGNERY
Pae WHITE
Opening RECEPTION Saturday 2 March / 4pm - 9pm
PARIS, 2 March - 13 April 2013
tUESDAY - SATURDAY 11AM - 7PM
H a r o l d A N C A RT
Kristin BAKER
Harold Ancart’s works do not actually function as objects, but as elements determining
Through methods of rubbing and layering that dichotomize deep and flat perspectives,
a situation. Preferring to work in-situ, Ancart ultimately allows his intuition to guide him
Kristin Baker’s recent acrylic palimpsests embrace the mutability within the fixed entity
as he engages with and interferes in the structure, proportions, situation and surface
of painting. Baker mediates the materiality of paint together with pictorial effects of light’s
of a space. Whether he digs the matter or physically attacks the space, Harold Ancart’s
velocity and terrain/volume. Experiential phenomenons occur as the inner space of the
practice heavily suggests expressionist gestures such as projecting, throwing, pulling
painting fluctuates with surface space and, thus, an all over see-through space
and burning. The results of these actions can be interpreted as traces or evidences of
emerges. Atmospheric densities that mimic such things as incandescent light push
an elliptical presence, transforming minimalist aesthetics into calls for chance and
against structures of painterly color. Inhalation of mass dissolves onto tangible accu-
hazardous actions, mysterious apparitions and the magic of a given situation.
mulations of material, bringing the viewer into and out of the painting all at once.
Emanating kinetic convertibility reveals internal expansiveness, creating paintings of
luminance and oscillating quietude. Born in 1980, Belgium; lives and works in New York, USA.
Born in 1975, USA; lives and works in New York, USA.
Untitled 2013
Charcoal powder on wall
Dimensions variable
“Hands-Off-Man,
Succinct Conduit” 2013
Acrylic on PVC
200.5 x 175 cm
79 inches x 69 inches
M a r k B A RRO W
Nina BEIER
The RGB series of paintings marks Barrow’s ongoing interest in the intersection of
“Danish artist Nina Beier’s works play with the conventional hierarchies of figure and
phenomenology and the science of perception. His collaborative and idiosyncratic
ground, content and frame, artwork and support... One work disappears in front of the
process functions on a seemingly molecular level, tweaking the DNA of a broad range
other, which in its turn only exists through and with the earlier work. Beier’s works don’t
of sources. He approaches his influences and empirical sets of data; his process designed
just invert the interrelations between objects as representatives of different cultural
to get their finiteness and find the point at which they begin to deteriorate. Using an
classifications and their corresponding values, rather they create an oscillation between
algorithm, Sarah Parke designed a randomly colored fabric for each painting in the
the two and an undecidability that renders the relationship itself central.”
exhibition. Barrow then used colors from the fabrics to create his compositions.
Barrow’s recent series of Re-productions are an expansion of his practice, furthering
Jacob Schillinger. This excerpt discusses the work Morphological Mimicry and Mympathetic Magic (2010) and
the development of his interest in the structures and systems underlying perception.
was first published in: Angelique Campens, Fredi Fischli, Magdalena Magiera and Jakob Schillinger: based in
Though autonomous from the paintings, each Re-production begins with the same digital
Berlin – Exhibition Catalogue, Cologne: Verlag der Buchhandlung Walther König, 2011. © Kulturprojekte
drawing used to begin a painting. Barrow calculates the ratios of CMYK in the drawing
and applies those percentages to a weaving pattern, creating his own halftone.
Born in 1975, Denmark; lives and works in Berlin, Germany.
Born in 1982, USA; lives and works in New York, USA.
“VBG” 2013
Re-Production
73,5 x 71 cm
29 x 28 inches
Untitled 2012
Found garment in wooden frame
175 x 115 x 6,2 cm
68 3/4 x 45 1/4 x 2 1/2 inches
Anna BETBEZE
M a r k F LOOD
Anna Betbeze’s recent work employs rigorous material experimentation to unearth ques-
Working in his native Houston, Texas, Mark Flood began creating his paintings and
tions about modes of destruction as sites of transformation. Her large-scale works are
collages in the 1980s. Crossing between art, music and social critique, his art transforms
made from room-size Flokati carpets, using huge wool slabs as a ground to accumulate
celebrities into grotesque caricatures; gives directives on how to behave; and trans-
a saturation of color and density of mark. Betbeze burns, bleaches, stains, cuts, etches,
poses found ephemera across canvases. This later one is what Flood calls “lace paintings”,
and tears the wool to go beyond its material limits creating a constantly unstable surface.
consisting of traditional patterned lace images seemingly torn apart to reveal windows
She explains: “I am consistently drawn to the varied conditions of the relic, the remnant,
or portals looking out on infinite space. The lace is torn and shredded and soaked in
and the ruin in my exploration of art making. I am always simultaneously making and
acrylic paint, and then carefully arranged across the canvas to then be removed leaving
unmaking, at once the original object is destroyed and a new one emerges.”
the canvas with just the paint, making the lace a painting device. Intricate, delicate, and
free of the irony found in his other bodies of work, the lace paintings have a formal
beauty that plays with the traditional notions of painting.
Born in 1980, USA; lives and works in New York, USA.
Born in 1957, USA; lives and works in Houston, USA.
“Nocturne” 2012
Charcoal, acrylic on wool
241 x 223,5 cm
95 x 88 inches
“Golden Gate Park” 2010
Acrylic on canvas
178 x 112 cm
70 x 44 inches
Th i l o H E IN Z M A NN
j o h n he n d e r s o n
Thilo Heinzmann is constantly exploring the nature and capacities of painting.
John Henderson utilizes notions of abstract painting and the performance of “the painter”
He makes use of a series of techniques he developed himself and materials such as unbound
as conceptual markers as he navigates the gaps between the traditionally unique aura of
pigment, absorbent cotton, Styrofoam, fur, or porcelain, which expand the scope of paint-
self-expression and the flattened space of serial reproduction. Executed in varied media
erly techniques. Heinzmann’s genuine contribution to contemporary art is that he has used
- sculpture, photography, video, and painting - Henderson’s objects and images approach
these media to achieve painterly qualities such as composition, color, and texture within the
the practice of painting as a symbolic field, an activity co-opted and performed in order
continuity of the history of the medium while at the same time opening new ways.
to investigate the conditions under which artworks are currently made and received. On
view in this exhibition, Henderson’s series of cast metal paintings are produced at a foundry
With the Pigment Paintings the textural qualities of canvas have vanished and been
using a traditional casting technique. From the artist’s own original paintings, sculptural
replaced by a regular unevenness of almost architectural quality. His treatment of color
surrogates are rendered in metals such as aluminum, bronze and brass. While the original
constitutes his proposal for what could become of the painterly concept that used to
paintings are subsequently destroyed, the casts remain as an afterimage, a conflation of
be known as ‘gesture’. With pigment as an element that in its loose form usually lies
Henderson’s own studio labor and the outsourced labor of the foundry workers.
prior to painterly procedures Heinzmann engenders a process of work and effect whose
Born in 1984, USA, lives and works in Chicago, USA.
result is painting in an emphatic sense.
Born in 1969, Germany; lives and works in Berlin, Germany.
“O. T.” 2012
Oil, pigment on canvas
behind plexiglass cover
153 x 133 x 9 cm
60 1/4 x 52 1/2 x 3 1/2 inches
“Cast aluminum” 2012
Aluminum
152,4 x 121,9 cm
60 x 48 inches
Sc o t t L Y A LL
Jay s o n M U SSON
Scott Lyall’s ink paintings are images of color that expand, erase, and change within the
Jayson Musson works in a variety of mediums: painting, photography, video and more.
technics of a code. Surviving both the ‘Pictures’ generation and collage, these images
The “Coogi” paintings are his first body of work that are not text- or explicitly humor-based,
are the effects of a virtual color model whose motility offers itself as painting’s only remain-
but rather visual. Musson’s abstract fabric constructions undulate between nostalgia for
ing ground. His works are thus assemblants (both assemblages, and semblants) made
the 1980’s and 90’s and a nod to the abstract expressionists. After spending months
by passing a canvas repeatedly through a UV-based printer. The colors are sent directly
collecting Coogi sweaters from Ebay, thrift stores and friends, Jayson dissects the
as instructions to the printer, with no need to compose the ‘interface’ with graphic objects
multicolored patterns and rearranges them to make his own compositions reminiscent of
on a screen. The color traces a movement from pure quantity (pure abstraction), to a
Rorschach tests and often of landscapes. Like his alter ego, Hennessy Youngman, Jayson’s
figure that has no debts to either disegno or screen imaging. The effect is neither of data,
“Coogi” sweater paintings ride the line between kitsch and social commentary.
pure and simple, nor the body. Each surface is the cognition of an atmospheric object,
undecidable between the veiling and lying bare of plastic form.
Born in 1977, USA; lives and works in New York, USA.
Born in 1964, Canada; lives and works in Toronto, Canada.
“nudes”
Installation view
19 May -18 June 2011
Campoli Presti, Paris
“On Some Faraway Beach” 2012
Mercerized cotton
stretched on linen
281,9 x 213,4 x 5,1 cm
9.2 feet x 7 feet x 2 inches
Re n au d R E G N E R Y
P ae W H IT E
Renaud Regnery’s mediations in painting interfere with direct signification, incorporating
The core of Pae White’s practice is based in the desire to insert the domestic in the
the trauma of nostalgia with the proliferation of meanings generated by a world immersed
space of art, two worlds that in Pae’s practice overlap with playful and poetic vision.
in digital culture. Shifting hierarchies through elaborate repetition and dislocation, the
Her production of tapestries allude to this constant oscillation between art and design,
paintings’ motifs which are entirely photocopied, scanned and printed with commercial
function and form, revealing a painterly, trompe-d’oeil quality that often confuses the
devises, evolve in one continuous, fracturing and self-replicating system--then oiled,
real nature of their medium. Here, opaque, flat surfaces become lustrous and layered
scratched and burned beyond recognition. Regnery’s radical strategies challenge re-
images, where mysterious ephemeral spirals of smoke weave through space, much like
flexes of visual recognition, framing analog matter amid the proliferation of digital infor-
the weave of the tapestry itself, and imprints of aluminum foil build up like sculptural
mation as contemporary aesthetic reality. As information builds and accumulates, it is
layers. These contrasts are the axis around which Pae’s work moves. With light and
simultaneously lost.
color, matter and empty space Pae’s work retains the capacity to break the borders
between aesthetics and the functional, art and reality.
Born in 1976, France; lives and works in Berlin, Germany & New York, USA.
Born in 1963, USA; lives and works in Los Angeles, USA.
“Rokurokubi I” 2012
Alkyd lacquer, acrylic lacquer,
spray paint, vinyl paint, pigments
and sulfur on partially burned
wallpaper on canvas
170 x 135 cm
67 x 53 inches
“Milan Hazy 2” 2011
Cotton, polyester and Trevira®
365 x 411,48 cm
143 3/4 x 161 3/4 inches
Galerie Perrotin is pleased to present a group exhibition that brings together
the works of Harold Ancart, Kristin Baker, Mark Barrow, Nina Beier, Anna
Betbeze, Mark Flood, Thilo Heinzmann, John Henderson, Scott Lyall, Jayson
Musson, Renaud Regnery and Pae White. The twelve artists, spanning Europe
and the US, will take over the three exhibition spaces of the Parisian venue,
with a large majority of new works conceived for the exhibition.
Drawing on the abstract painting group show organized at the gallery in 2010,
this exhibition focuses on process and hybridity in abstract painting today.
Performance in painting, non-traditional techniques and materials, crafts and
design, symbolism, current technology - the works presented in the exhibition
are evidence of the renewal of pictorial research beyond the traditional concept
of the medium.
Many thanks to all the artists and collaborating galleries. All works courtesy of the artists and
the following galleries: Harold Ancart, Courtesy C L E A R I N G, New York - Kristin Baker,
Courtesy The Suzanne Geiss Company, New York. Photo: Mats Nordman - Mark Barrow,
Courtesy Elizabeth Dee, New York - Nina Beier, Courtesy Standard (OSLO), Oslo.
Photo: Vegard Kleven - Anna Betbeze, Courtesy Kate Werble Gallery, New York. Photo:
Elisabeth Bernstein - Mark Flood, Courtesy Peres Projects, Berlin - Thilo Heinzmann,
Courtesy Galerie Guido W. Baudach, Berlin. Photo: Roman März - John Henderson,
Courtesy Galerie Perrotin, Hong Kong & Paris - Scott Lyall, Courtesy Campoli Presti, London
/ Paris - Jayson Musson, Courtesy Salon 94, New York - Renaud Regnery, Courtesy Elizabeth
Dee, New York - Pae White, Courtesy kaufmann repetto, milano; Courtesy 1301PE, Los Angeles.
Cover Image:
“Golden Gate Park”(detail) 2010
Acrylic on canvas
178 x 112 cm
70 x 44 inches